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Julian Montague
Contemporary American Minimalist Painting Abstract Geometric Pink Blue White

2019

$4,800
£3,585.37
€4,156.66
CA$6,664.68
A$7,470.25
CHF 3,889.54
MX$91,214.93
NOK 49,383.01
SEK 46,810.66
DKK 31,013.22
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About the Item

An original acrylic on canvas by American contemporary conceptual artist Julian Montague from the artist's exhibition "Semi-Fictions". The body of work included in Semi-Fictions, a new series of acrylic paintings on canvas, grew out of a project that was on view at Anna Kaplan Contemporary in the Fall of 2017. “Fictions” was an exhibition that centered on Montague’s conceptual faux books, posters and other ephemera, which have been a large part of his art practice for the last several years. The show included over 100 posters and other printed materials related to a fictional 1970s art institution Montague has named “The Thorold Gallery.” The posters in the series depict a wide range of artists, artwork, exhibitions, and performances and in the process of creating the imagery, Montague worked with several different media, including painting. Montague has used the medium of painting in the past, in his “Features” series, for example, which are acrylic paintings on MDF and depict a selection of geological features and events that shape the physical landscape of the earth paired with text identifying the image. The paintings included in Semi-Fictions are pure geometric abstractions— bold, simple, compositions that no longer reference anything in reality. Montague has taken a cue from the hard-edged painters of the 1960s, while his palette often recalls two of the pioneers of geometric abstraction, Piet Mondrian and Kasimir Malevich. At the same time, Montague’s forms feel contemporary as ever and are very much in line with his graphic aesthetic. ABOUT THE ARTIST Julian Montague is known for his photography, design and installation work. This is the fourth solo show of Montague’s at Anna Kaplan Contemporary (formerly BT&C Gallery). The first, In Ruins, opened in June 2014 and presented work that is an extension of Montague’s vast ongoing project entitled Secondary Occupants, which explores the relationship of insects and animals with architecture and, ultimately, how their observed behaviors conceptually relate to psychological, human models. In Ruins included a small installation of Montague’s faux books that directly relate to the Secondary Occupants project. Montague has exhibited throughout the United States, Canada, and Europe. His work has received attention from Artnews, Art in America, Frieze, New York Magazine, The New York Times, The Toronto Star, the BBC World Service, and many others. He is represented in the collections of The Albright-Knox Art Gallery, The Burchfield Penney Art Center, Delaware North, The Margulies Collection at the Warehouse, and The Norton Museum of Art as well as numerous private collections. Montague’s instagram account (@montagueprojects), which focuses on modernist book covers, as well as the artist’s own projects, has a following of over 49.1K.[
  • Creator:
    Julian Montague (American)
  • Creation Year:
    2019
  • Dimensions:
    Height: 48 in (121.92 cm)Width: 36 in (91.44 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Buffalo, NY
  • Reference Number:
    1stDibs: LU13925087602

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Lovers Series No. 15
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An original oil on canvas painting from the estate of George North Morris from the artist's "Lovers" series. This piece comes in its original wood frame presentation. George North Morris - painter, writer, teacher Born May 13, 1915 in East Liberty, PA Died Oct. 1, 1996 in Hudson, NY Studio locations over the years: varied from Hyannis (MA), Providence (RI), Oglethorp (GA), Montpelier (VT), Yonkers & Westchester Co. (NY) to the later years in Germantown (NY). Subject matter consisted mainly of seascapes and landscapes but in the 60's and 70's he experienced his abstract era. The later years, in fact most of his life was spent in New England and N.Y. state. Most of his more valuable paintings where along the Hudson River and Westchester County. His most frequent methods were oils and water colors, and in the 1940' his artistic expression was through the use of clay. Most of his pottery was made from local Cape Cod (Barnstable) clay which he and his family dug, washed and prepared. He wrote a part of the foreward, called "The Tradition", for a book "A Century and a Half of American Art 1825-1975". Published in 1975 by the "National Academy of Design". He was also an art critic and reporter for the Worcester Telegram and the Provincetown New Beacon. He was a person that felt time was by far better spent talking about and hearing ideas and thoughts. The following are some of his. George Morris's life was that of art and art critic as well as educator. "It was the two summers, 1938 and 1939" recalled Morris, "that I really learned how to paint". Though much of his work showed a strong Edward Hopper influence, at the same time it took many roads. It was, over the years, much too varied to categorize. He started with collage, moved to abstraction, and then to a period during the late 1960s and '70s when he completed what he called his "Lovers Series" - erotic paintings filled with large orchestrated flat color - that show him moving away from abstraction. Upon becoming bored with the concept of abstract painting, he looked for new challenges in pastels, acrylics and water colors, painting once again what he called "the world as it is recognizable by others". George firmly believed that all the best artists are good hucksters, too. Solo exhibitions as a painter were as follows: Columbia-Greene Community College - 1985 Barrett House - 1985 Smith Gallery - 1980, '81, '82 Swansborough Gallery, Wellfleet - 1983 Hopper House, Nyack, NY - 1981 Hudson River Museum, Yonkers Shepherd Gallery...
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